Double Bass Programa

DOUBLE BASS

2006-2010

Contents

Page

LCM Publications ... 2

Grade 1 ... 3

Grade 2 ... 4

Grade 3 ... 5

Grade 4 ... 6

Grade 5 ... 7

Grade 6 ... 8

Grade 7 ... 9

Grade 8 ... 10

Viva

Voce

...

11

Aural

Tests

...

13

This repertoire list should be read in conjunction with the Syllabus for

General Graded Examinations in Music Performance. Copies are

available free of charge from LCM Examinations (tel: 020 8231 2364) or

from local representatives.

Leisure Play examinations are also available, for candidates who wish to

play pieces only. Please see Section 5 of the syllabus for details.

LCM Examinations

Director of Examinations

John Howard

Chief Examiner in Music

Philip Aldred

LCM Examinations

Walpole House

Thames Valley University

18-22 Bond Street

Ealing

London W5 5AA

tel: +44 (0)20 8231 2364

fax: +44 (0)20 8231 2433

email: lcm.exams@tvu.ac.uk

www.tvu.ac.uk/lcmexams

© Copyright 2005 LCM Examinations, Thames Valley University

LCM Publications

• Specimen Aural Tests (LL1189) • LCM Aural Handbook (LL205)

LCM Publications are distributed by Music Exchange (tel: 0161 946 9301; email: mail@music-exchange.co.uk). A complete list of titles may be found on their website – http://www.music-exchange.co.uk

DOUBLE BASS: GRADE ONE

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: G and B flat major (one octave)

A and B minor (one octave)

Scales to be played: (i) separate bows, even notes

(ii) slurred with two quavers to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: separate bows, even notes

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

ANON. The Bluebells of Scotland, No 1 from Yorke Solos for Double Bass Vol. 1

(Yorke YE0087/Spartan Press)

ELLIOTT Mattachins OR Lightly Row from Ready Steady Go (Bartholomew BMP502)

EMERY Climbing Higher Now, No 34 OR This Old Man, No 47 from Bass is Best! Yorke Mini Bass Bk 1

(Yorke YE 0090/Spartan Press)

EVANS Down Under No 1 from Basic Bass (NOV 916156/Music Sales)

HAYES/ROE Shaker Song, No 29 from Bass for Beginners (Recital RM 013)

MAHLER Canon on Frère Jacques from Double Bass Solo 1 (arr. Hartley) (OUP)

TRAD. I Have a Bonnet, p 15 from Essential String Method Book 2 (Boosey & Hawkes M060105197)

LIST B

BECH Czech Song, No 3 from Bass for Beginners (Recital RM 013)

EMERY Waltz for Bass, No 42 OR Sad Double Bass, No 44 OR Orange-Peal, No 49 from

Bass is Best! Yorke Mini Bass Book 1 (Yorke YE 0090/Spartan Press)

HAYDN (arr. Elliott) Papa Haydn Goes Walking and two variations, No 60 from Ready Steady Go

(Bartholomew BMP 502)

OSBORNE Minor Waltz, No 3 from The Double Bass Sings (Piper Db002)

STEWART Prelude OR Waltz from Suite for Double Bass (Ricordi LD809 1)

LIST C

ALLEN/GILLESPIE/HAYES

Song for Maria from Essential Elements for Double Bass 2000 (Hal Leonard HL00868052)

EMERY In My Little Snuff Box, No 48 OR Knocking On The Door, No 65 from Bass is Best! Yorke

Mini-Bass Book 2 (Yorke YE 0090/Spartan Press)

HAYES/ROE Blow The Man Down from Bass for Beginners (Recital RM 013)

TRAD./WHITE Study in D minor, No 4 OR The Croydon Frisk, No 5 OR Bobby Shaftoe, No 8 OR

The Grinders, No 33 from Yorke Studies for Double Bass Vol 1 (Yorke YE 0022)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE TWO

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: G, F and B flat major (one octave)

A and E minor (one octave) [harmonic OR melodic minor scales, at candidate’s choice] Scales to be played: (i) separate bows, even notes

(ii) slurred with two quavers to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: separate bows, even notes

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

BACH, JS Come Neighbours All, No.5 from Amazing Solos for Double Bass (Boosey & Hawkes MO6094178)

CARROLL Prelude and Gigue from Five Simple Pieces for Double Bass (Stainer & Bell 2310)

ECCLES Minuet in D, No 11 from Double Bass Solo 1 (arr Hartley) (OUP)

EMERY The Ash Grove from Bass is Best! Yorke Mini Bass Book 1 (Yorke YE 0090/Spartan Press)

HAYES/ROE French Folk Song from Bass for Beginners (Recital RM 013)

OSBORNE Sur le pont d'Avignon, No 11 from The Really Easy Bass Book (Faber)

SIMANDL No 4 OR No 5 from New Method for the Double Bass Book 1

(Fischer/Boosey & Hawkes MO60 045394)

TCHAIKOVSKY Old French Song from Essential String Method Book 4 (Boosey & Hawkes MO60105203)

LIST B

ALLEN/GILLESPIE/HAYES

Ode to Joy from Essential Elements for Double Bass 2000 (Hal Leonard HL00868052)

FIELD Waltz, No 40 from Bass is Best! Yorke Mini Bass Book 2 (Yorke YE0098/Spartan Press)

MOZART Minuet, No 10 from Double Bass Solos 1 (arr Hartley) (OUP)

SAINT-SAËNS Tortues, No.2 from Double Bass Solos 1 (arr. Hartley) (OUP)

SCHUBERT Two German Dances, No.1 OR No.2 from Essential String Method Book 4

(Boosey & Hawkes MO60105203)

SCHUMANN The Wild Horseman, No 47 from Bass for Beginners (Recital RM 013)

STRAUSS Waltz, No 3 from Double Bass Solos 1 (arr Hartley) (OUP)

LIST C

ELLIOTT Long Long Ago OR Moving On from Ready Steady Go (Bartholomew BMP 502)

EMERY Dinosaur Dance, No 70 from Bass is Best! Yorke Mini Bass Book 1 (Yorke 0090/Spartan Press)

MUSSORGSKY The Great Gate of Kiev, No 1 from Double Bass Solos 1 (arr. Hartley) (OUP)

NELSON The Centipede from Right from the Start (Boosey & Hawkes MO60098178)

NICKS Sunshine, No 4 from Yorke Solos for Double Bass Vol 1 (Yorke YE0087/Spartan Press)

OSBORNE English Dance, No 2 OR Minor Waltz, No 3 from The Double Bass Sings (Piper Db002)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE THREE

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: C, G, F and B flat (one octave)

A, B and G minor (one octave)

Scales to be played: (i) separate bows, even notes

(ii) slurred with two quavers to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: separate bows, with notes of equal length

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

BACH, JS Jesu, Joy of Man's Desiring, No 29 from Double Bass Solos 1 (arr. Hartley) (OUP)

BACH, JS March in D from Notebook for Anna Magdalena Bach from Bach: Six Pieces for Unaccompanied

Double Bass (arr. Carroll) (ABRSM)

BACH, JS My Heart Ever Faithful (arr Carroll) No 85 from Yorke Studies for the Double Bass Vol 1

(Yorke YE 0022)

CARROLL Courante from Five Simple Pieces (Stainer & Bell 2310)

DEUTSCHMANN Menuet and Trio from Yorke Solos Volume 1 (Yorke YE 0087)

STEWART 5th movt, Pavane OR 6th movt, Hornpipe from Suite Double Bass Book 1

(Ricordi LD809/Boosey & Hawkes M 57002 3189)

WARLOCK Basse-Danse, No 3 (arr. Hartley) from Subterranean Solos (Bartholomew BMP 006)

LIST B

BOADEN 1st movt, Prelude from Petite Suite (Yorke YES473/Spartan Press)

HAYDN Dance for a Party from Essential String Method Book 4 (p.31) (Boosey & Hawkes M060105203)

HOAG The Second Position Rag from Rags, Boogies and Blues (Presser 114 40436)

KELLY Folk Song, No 3 from Four Easy Pieces (Yorke 0091)

LASKA Elegie, No 2 OR Strolling Along, No 16 from Yorke Solos for Double Bass Vol 1 (Yorke YE 0087)

MOZART M. Duport's Menuet from Essential String Method Book 4 (Boosey & Hawkes M0601052303)

NICKS The Little Sailor, No 3 from Yorke Solos for the Double Bass Vol 1 (Yorke YE 0087)

LIST C

BOTTESINI Sostenuto, No 7 from Method for Double Bass Part 1 (Yorke YE 0076/Spartan Press)

BRAHMS Lullaby No 14 from Double Bass Solo Vol 1 (arr. Hartley) (OUP)

HINDEMITH O Iso ed Osiro - Con calore from Pieces for Solo Double Bass (Schott ED 8378)

MENDELSSOHN Orchestral Study from Symphony No 4, No 97 from Yorke Studies for Double Bass Vol 1

(Yorke YE 0022)

ROSE Minuet from A Sketchbook for Double Bass (ABRSM 1854724193)

SCHUBERT The Trout from Double Bass Solos 1 (arr. Hartley) (OUP)

TCHAIKOVSKY Old French Song (from Op 39 No 16) No 17 from Double Bass Solo 1 (arr Hartley) (OUP)

WAUD Study No.2 from 30 Progressive Studies (Recital RM 237)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE FOUR

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: C, A, A flat and D flat major (one octave)

F sharp, C sharp, D and C minor (one octave) [melodic OR harmonic minor scales at candidate's choice] Scales to be played: (i) separate bows, even notes

(ii) slurred with two crotchet beats to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: (i) separate bows, even notes

(ii) slurred, 3 notes to a bow, even notes

Chromatic Scales starting on C and G (one octave), to be played: even notes, separate bows

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

ANON. No 99 from Yorke Studies for the Double Bass Vol 1 (Yorke YE 0022/Spartan Press)

CARROLL French Bourrée from Five National Dances (Stainer & Bell H290)

HALAHAN No 3 from Four Bagatelles (Yorke C45379)

KELLY Dance No 4 from Four Easy Pieces (Yorke 0091)

MARAIS Passepied from La Contrebasse Classique Vol B (Combre C5716)

MARCELLO First movement from Sonata in G (IMC 1159/MDS)

SIMANDL No 2 OR No 3 from New Method for the Double Bass Book 1 (p 16) (Boosey & Hawkes M060045394)

TRAD. English Country Garden from Subterranean Solos (arr. Hartley) (Bartholomew BMP 006)

WOOD Pavane No.3 from Four Dances for Double Bass (Maecenas Europe)

LIST B

BIZET Habañera from La Contrebasse Classique, Vol B (Combre C5716)

CRUFT Prelude and Scherzo (complete) (Joad Press/Elkin)

DALE Second movt from Sonatina Op 81 (Piper)

FIELD Hornpipe, No 4 from Mock Baroque from Yorke Studies for Double Bass Vol 2

(Yorke YE 0086/Spartan Press)

KELLY Dance, No 4 from Four Easy Pieces (Yorke YE 009/Spartan Press)

ROSE Country Dance from A Sketchbook for Double Bass (ABRSM)

SCHUMANN Ein Jungling Liept ein Madchen from Dichterliebe, Op 48 from Amazing Solos for Double Bass

(arr. Schofield) (Boosey & Hawkes)

SCHUMANN Children's Song, No 8 from 35 Easy Pieces from Yorke Solos Vol. 1 (Yorke 0087)

LIST C

AMELLER Pièce Elégiaque (UMP)

CARROLL Sarabande from Five Simple Pieces for Double Bass (Stainer & Bell 2310)

HALAHAN Quadrille à Trois, No 4 from Bagatelles for Double Bass (Yorke C45379)

HINDEMITH Danza and Coda from Four Pieces for Solo Double Bass (Schott ED8378)

MOZART Menuetto from Symphony No 40 in G minor from Double Bass Solos 2 (arr. Hartley) (OUP)

PROKOFIEV Troika, from Amazing Solos for Double Bass (arr. Schofield) (Boosey & Hawkes M060094178)

VERDI Grand March from Aida from Amazing Solos for Double Bass (arr. Schofield)

(Boosey & Hawkes M060094178)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE FIVE

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: E major (two octaves) D and E flat major (one octave)

E minor (two octaves) D and E flat minor (one octave) [melodic OR harmonic minor scales at candidate's choice] Scales to be played: (i) separate bows, even notes

(ii) slurred with two crotchet beats to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: (i) separate bows, even notes

(ii) slurred, 3 notes to a bow, even notes

Chromatic Scales starting on open A and D (one octave) and E (two octaves), to be played: even notes, separate bows

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

BACH, JS Minuet from Notebook for Anna Magdalena Bach, No.42 from Double Bass Solo 1 (arr. Hartley) (OUP)

BOTTESINI No 3 AND No 9 from Method for the Double Bass (Yorke YE 0076)

GIOVANNINO Sonata in A minor: First and second movements (Adagio and Aria staccata e allegra) OR fourth

movement (Ballo arioso e presto) (Yorke 0008/Spartan Press)

HANDEL Sarabande from La Contrebasse Classique Vol. B (Combre C5716)

RAMEAU Dance No 68 from Bass is Best! Book 2 (Yorke 0098)

SIMANDL New Method for the Double Bass Book 1 p 22, No 4 (Boosey & Hawkes M060045394)

TRAD. Greensleeves from Solo Double Bass 1 (OUP 0193222493)

VIVALDI Larghetto and Allegro from Amazing Solos (p12-14) (Boosey & Hawkes M060094178)

LIST B

CARROLL No 2 from Five Short Studies from Yorke Studies for Double Bass Vol 2 (Yorke YE 0086)

GLIÈRE Russian Sailors' Dance from The Red Poppy (arr. Isaac) (Carl Fischer B3394-Schott/MDS)

HAUTA-AHO Lullaby from Teppo's Tunes (Recital RM 068)

HAYDN Andante from Trumpet Concerto, No 32 from Double Bass Solos 1 (arr. Hartley) (OUP)

LANCEN Berceuse for a Baby Hippopotamus (Yorke YE 0054)

MENDELSSOHN Romance sans Paroles, No 10 from Pièces Classiques Vol. 1 (arr. Salles) (Billaudot)

NICKS Dog Tired, No 17 AND The Great Tail Chase, No 18 from Yorke Solos for Double Bass Vol. 1

(Yorke YE0087/Spartan Press)

LIST C

BOTTESINI Study No 45 from Double Bass Method Part 1 (Yorke YE 0076)

CARROLL Gavotte, No 4 from Five Short Studies, No 121/1 from Yorke Studies for Double Bass Vol. 2

(Yorke YE 0086/Spartan Press)

CARROLL Cuban Rumba from Five National Dances (Stainer & Bell H290)

FIELD No 1 OR No 6 from Mock Baroque, Yorke Double Bass Studies Vol 2 (Yorke YE 0086)

MOSZKOWSKI Spanish Dance No 2 from Subterranean Solos (arr. Hartley) (BMP 006)

SAINT-SAËNS L'Eléphant from Le Carnaval des Animaux (UMP)

SMITH-MASTERS No 2 from All Mimsy (Yorke YE 0057)

WAUD Study No.27 from Thirty Progressive Studies (Recital RM 237)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE SIX

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: G, F sharp, F and B flat major (two octaves)

G, F sharp, F and B flat minor (two octaves) [melodic AND harmonic minor scales] Scales to be played: (i) separate bows, even notes

(ii) slurred with two crotchet beats to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: (i) separate bows, even notes (ii) slurred, 2 notes to a bow, even notes Chromatic Scales starting on F, F sharp and G (one octave)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow Dominant 7th Arpeggios in the keys of A and B flat (two octaves resolving on the tonic) To be played, even notes (i) separate bows (ii) slurred, 2 notes to a bow Diminished 7th Arpeggios starting on E and F sharp (two octaves)

To be played, even notes (i) separate bows (ii) slurred, 2 notes to a bow

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

BACH, JS Adagio from Violin Concerto No.2 in E, No 20 from Double Bass Solos 2 (arr. Hartley) (OUP)

CORELLI Third movt. (Allegro-sarabanda) from Solo in D minor (arr. Dragnetti) (Doblinger DM120)

GIOVANNINO Sonata in F major: Second AND third movements (Adagio and Aria) (Yorke YE0009)

HANDEL Largo from Serse from Festival Performance - String Bass Book (arr. Zimmerman) (Carl Fischer)

MARCELLO Sonata in G minor: First AND second movements (IMC 1661/MDS)

PERGOLESI Siciliana from Tre Gioni (arr. Zimmerman) (Fischer B2463)

SCARLATTI Sonata No. 3 in C: Second AND third movements from Three Sonatas (Schirmer GS26245/Music Sales)

VIVALDI Sonata No 2 in F major: First AND second movements (IMC 2302/MDS)

LIST B

BEETHOVEN Sonatina from Solos for the Double Bass Player (Schirmer GS33083)

BEETHOVEN Excerpt from Symphony No 5 in C minor, Op 67, No 93 from Yorke Studies for Double Bass Vol. 2

(Yorke YE 0086/Spartan Press)

CARROLL Fantasia from Three Pieces for Double Bass (Forsyth FC101)

DIABELLI Sonatine from Le Contrebasse Classique Vol B (Combre C5716)

DRAGONETTI Three Waltzes (complete) (Yorke YE 0002/Spartan Press)

GOUINGUENE Adagio (Leduc AL 25774)

MOZART Excerpt from Overture to the Marriage of Figaro, No 116 from Yorke Studies for Double Bass Vol. 2

(Yorke YE 0086/Spartan Press)

WALTON A Deep Song (Yorke YE 0005)

LIST C

BOTTESINI Study No 67 from Double Bass Method Part 1 (Yorke YE 0076)

COPLAND Zion's Walls from Copland for Double Bass (p.9) (Boosey & Hawkes M051360239)

ELLIOTT Odd Man Out (Yorke YE 0015)

HAUTA-AHO Di-Ba-Dum from Pizzicato Pieces Book 1 (Recital RM 097)

PITFIELD Sonatina: First movement (Yorke YE 0029)

PROUST Arcades (Combre C05483)

WARLOCK Basse Danse from Capriol Suite from Amazing Solos for the Double Bass (arr. Schofield)

(Boosey & Hawkes)

WAUD Study No.24 from Thirty Progressive Studies (Recital RM 237)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

DOUBLE BASS: GRADE SEVEN

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: A, B, B flat and A flat major (two octaves)

A, G sharp and B flat minor (two octaves) [melodic AND harmonic minor scales] Scales to be played: (i) separate bows, even notes

(ii) slurred with two crotchet beats to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: (i) separate bows, even notes (ii) slurred, 3 notes to a bow, even notes Chromatic Scales starting on G sharp, B flat and B (two octaves)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow Dominant 7th Arpeggios in the keys of B and D (two octaves resolving on the tonic)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow Diminished 7th Arpeggios starting on F sharp and A (two octaves)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

CAPUZZI Concerto in F: First movement (Allegro moderato) (ed. Baines) (Boosey & Hawkes M051360017)

DE FESCH Sonata in G: Third AND fourth movements (Sarabande and Minuet) (International 2489-Kalmus/MDS)

GIOVANNINO Sonata in A minor (complete) (Yorke YE 0008)

MARCELLO Sonata No 2 in E minor: First AND second movements (Adagio and Allegro) (IMC 1050)

MARCELLO Sonata in G, Op 2 No 6: Third AND fourth movements (Grave and Allegro)

(International 1159-Kalmus/MDS)

SCARLATTI Sonata No 1: First AND second movements (Largo and Allegretto) (Schirmer GS 26245)

TELEMANN Sonata in A minor: First AND second movements (Largo and Allegro) (trans. Sankey) (IMC 2308/MDS)

VIVALDI Sonata No 6 in B flat: Third AND fourth movements (IMC 1473/MDS)

LIST B

BRUCKNER / MAHLER

Bruckner Symphony No 7 (excerpt), No 33 AND Mahler Symphony No 1 (excerpt), No 42 from

Double Bass Solo 2 (OUP)

HEGNER Romance (Bass clef version) (Recital RM 028)

MOZART Bassoon Concerto in B flat (trans. Sankey): Finale (Rondo - Tempo di Minuetto) with bar 42 an

octave higher (IMC 2421)

RACHMANINOV Vocalise Op 34, No 14 from Solos for the Double Bass Player (Schirmer GS 33083)

ROSSINI Une Larme Pour Basse (ed. Scala) (Zanibon M060930010)

VERDI Agnus Dei from Requiem, No 47 from Double Bass Solo 1 (arr. Hartley) (OUP)

LIST C

BOTTESINI Study No 99 from Method for Double Bass Part 1 (Yorke YE 0076)

HESTER The Bull Steps Out (Yorke YE 0070)

JACOB A Little Concerto: Second movement (Largo) (Yorke 0032/Spartan Press)

KRATZ Desert Places: Nos. 1, 2 AND 3 from Recital Solos Vol 1 (Recital RM 164)

RATEZ Cantabile Op 46, No 2 from Pièces Characteristiques (Billaudot CC995)

WALTER The Elephant's Gavotte (Yorke 0038)

WAUD Novelette No 35 from Yorke Solos for Double Bass Vol 1 (Yorke YE 0087)

WAUD Study No 28 from Thirty Progressive Studies (Recital RM 237)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

DOUBLE BASS: GRADE EIGHT

Theory of Music Grade Five must have been passed (see Regulations).

Component 1 - Technical Work

Scales and common chord arpeggios of the following keys: All major keys, E-C inclusive (two octaves)

all minor keys, E-C inclusive (two octaves) [melodic AND harmonic minor scales] Scales to be played: (i) separate bows, even notes

(ii) slurred with one octave to a bow, the rhythmic pattern to each octave being crotchet, two quavers, four quavers.

Arpeggios to be played: (i) separate bows, even notes (ii) slurred, 4 notes to a bow, even notes Chromatic Scales starting on any note E-C (two octaves)

To be played, even notes (i) separate bows (ii) slurred, 6 notes to a bow

Dominant 7th Arpeggios in keys of A-E (two octaves resolving on the tonic)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow

Diminished 7th Arpeggios starting on G, G sharp and A (two octaves)

To be played, even notes (i) separate bows (ii) slurred, 4 notes to a bow

Component 2 - Performance

Performance of three pieces, one from each list: A, B and C

LIST A

BENSTEAD Lament and Finale from Four Episodes (Yorke YE 0085)

CIMADOR Concerto in G: First movement (Allegro) (Yorke 0003/Spartan Press)

DE FESCH Sonata in G: First AND second movements (Prelude and Allemande) (International 2489-Kalmus/MDS)

DRAGONETTI Solo in D (Doblinger D118/MDS)

ECCLES Sonata in G minor: Second AND third movements (Corrente: Allegro con spirito and Adagio) (IMC 1712)

HANDEL Sonata in C minor: First AND second movements (Adagio and Allegro) from Solos for the Double

Bass Player (Schirmer GS 33083)

TELEMANN Sonata in D: First AND second movements (Lento and Allegro) (IMC 2304)

VIVALDI Sonata No 5 in E minor (trans. Zimmerman): First AND second movements (Largo and Allegro

con spirito) (International 1472-Kalmus/MDS)

LIST B

BEETHOVEN Symphony No 5 in C minor, Op 67: Scherzo and Trio, No 15 AND Symphony No 9 in D minor,

Op 125: Presto and Allegro assai, No 23 from Double Bass Solo 2 (arr. Hartley) (OUP)

BENSTEAD No 2 (Conversation) AND No 3 (Lament) from Four Episodes (Yorke YE 0085)

BOTTESINI Reverie (McTier MM 203)

FAURÉ Siciliènne Op 78 (trans. Zimmerman) (IMC 919)

GEISSEL Andante from Solos for the Double Bass Player (Schirmer GS 33083)

KELLY Caliban and Ariel (Yorke YE 0065/Spartan Press)

PROKOFIEV Romance from Solos for the Double Bass Player (Schirmer GS 33083)

LIST C

BENTZON Study for Double Bass Solo (Wilhelm Hansen 26065)

BRITTEN / STRAVINSKY

Young Person's Guide to the Orchestra, No. 29 AND Pulcinella Suite: Viva, No 46 from Double

Bass Solo 2 (OUP)

CHASTANET Ballade Oubliée (Billaudot G 42368)

HOAG No 2 (Scherzo) AND No 3 (Passepied Nouveau) from Nine Studies for Double Bass

(Theodore Presser 2447-Kalmus/MDS)

JACOB A Little Concerto: First movement (Introduction and Scherzo) (Yorke 0032)

PITFIELD Sonatina: Third movement (Yorke YE 0029)

REYNOLDS Hornpipe (BMP 004)

WAUD Study No 30 from Progressive Studies (Recital RM 237)

Component 3 - Viva Voce

See pages 11-12.

Component 4 - Sight Reading

Up to one minute’s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish.

Component 5 - Aural Tests

Viva Voce

Notes:

1. All questions and answers are verbal. Candidates are not expected to demonstrate on their instrument or to sing; but they may choose to do so if they feel that this would clarify their answer.

2. There is no set form of words, or number of questions. Examiners are encouraged to conduct the tests in a flexible and conversational manner. The number of questions asked, and the content of the questions, may differ from candidate to candidate. However, the prime focus for the Viva Voce will always be the music performed in the Performance section of the exam.

3. The knowledge required for the Viva Voce is cumulative for Grades 1-8; i.e. any knowledge required in earlier grades is required for later grades.

4. Although accuracy and appropriateness of response are the principal criteria of assessment, examiners will also look for articulacy, use of correct terminology, and a sense of engagement with, and understanding of, the music performed.

Requirements:

GRADES 1 AND 2

Candidates should be able to:

• name, and explain the meaning of, all basic notational elements in the music performed in the Performance component of the exam, including: staff, bars and bar-lines, clefs, pitches of individual notes, rhythmic values of notes and rests (including dotted notes), key and time signatures, accidentals, dynamics, articulation markings, phrases, ornaments, and any additional markings;

• explain which is their favourite piece and why;

• assign simple descriptive words to pieces to describe their mood ('happy', 'sad', 'bouncy', 'jazzy', 'gentle', etc.)

GRADE 3

In addition to the requirements for Grades 1 and 2, candidates may be asked to:

• identify intervals up to and including a fifth by numerical value only (e.g. 'second', 'fourth', etc.);

• describe the mood or character of pieces using appropriate descriptive terminology ('fast and lively', 'gentle and flowing', 'like a dance', etc.);

• identify contrasts of mood within pieces;

• discuss any pictorial or descriptive element of the music.

GRADE 4

In addition to the requirements for Grades 1-3, candidates may be asked to:

• identify intervals up to and including an octave by numerical value only (e.g. 'fourth', 'seventh', etc.); • demonstrate basic knowledge of composers of the music performed, including their nationality and

approximate dates;

• discuss their approaches to learning the pieces, and to identify any particular difficulties (musical or technical) which were encountered;

• demonstrate a basic understanding of the workings of their instrument, and to name its principal constituent parts.

GRADE 5

In addition to the requirements for Grades 1-4, candidates may be asked to:

• identify intervals up to and including an octave by number and type (e.g. 'Major 2nd', 'Perfect 4th', etc.); • demonstrate knowledge of basic formal structures (e.g. contrasting or repeated sections);

• identify principal modulations (by naming the new key or its relationship to the home key);

• identify major and minor chords as occurring in the music (either as chords or as melodic patterns); • identify the historical period of the music performed (Renaissance, Baroque, etc.).

GRADE 6

In addition to the requirements for Grades 1-5, candidates may be asked to:

• discuss their personal responses to the music performed: the extent to which they like or dislike it, or find it challenging or rewarding, and why;

• approaches to learning the music, including the use of certain techniques, and aspects of interpretation; • identify melodic and harmonic features of the music (e.g. sequence, melodic inversion, circle of 5ths, pedal

points, etc.);

• demonstrate knowledge of formal structures (e.g. ternary, binary, rondo etc.);

• demonstrate a self-critical awareness of their own performance, indicating to the examiner which aspects of their performance they were happy or unhappy with, and why.

GRADE 7

In addition to the requirements for Grades 1-6, candidates may be asked to:

• identify more complex chords, including sevenths and dissonances, as occurring in the music (either as chords or as melodic patterns);

• identify cadences;

• give basic biographical information about the composers of the music performed; • demonstrate awareness of the historical and stylistic context of the music; • demonstrate a widening musical awareness a little beyond the music performed.

GRADE 8

In addition to the requirements for Grades 1-7, candidates may be asked to: • demonstrate knowledge of other music by the same composers; • identify any interval by number and type;

• discuss with the examiner a range of issues arising from the music performed, demonstrating evidence of a rounded musical awareness, in terms both of the repertoire itself, and the candidate's response to it as a performer.

Aural Tests

Notes:

1. GRADE 1 TEST 1(b); GRADE 3 TEST 2(b): where a candidate wishes to respond to either of these tests in the alternative manner as specified, the examiner must be informed in advance of the tests being

administered. This may be done either via the Centre representative or attendant on the day (in advance of the examination), or by the candidate (in the examination, in advance of the tests).

2. In tests where the identification of note values (rhythmic values) is required, such as Grade 2, test 1(c), candidates are required to respond by listing the rhythmic values in the order in which they occur in the extract, e.g. 'minim, crotchet, crotchet' or 'minim, four quavers'.

3. In tests where a sung response is required, candidates may use any clear and appropriate syllable or vowel sound (e.g. 'ah', 'la', 'oo', etc.) They may also hum or whistle. Candidates may request tests to be transposed if required by their vocal range. Candidates may play back such tests on their instrument if they prefer; in this case, examiners must be informed prior to the administration of the tests (see note 1 above).

4. In tests where responses describing pitch are required, candidates may use letter-names (A, B, C, etc.), tonic sol-fa (doh, re mi, etc.), or number (1, 2, 3, etc., or 1st, 2nd, 3rd, etc.) (Where a minor key is used, it will be assumed that doh=tonic.)

5. Please note that from Grade 2 onwards, candidates are required to beat time (i.e. conduct), NOT to tap or clap the pulse. They may join in during the initial playing, or a second playing may be given.

6. Candidates may request any test to be given one repeat playing without loss of marks.

7. Please note that in all cases, examiners will use a piano to conduct the tests. Examiners will ask candidates to stand or sit in such a position that they cannot see the piano keyboard.

9. Please note that the printed wording is a guide only. Examiners are encouraged to conduct the tests in a conversational manner.

Requirements:

GRADE 1

Rhythm

A short harmonised passage, of approximately 6-8 bars in length, will be played. The passage will be in either 2/4 or 3/4 time. Candidates will be asked to:

1 (a) identify the time signature as “2” or “3” time (2 marks).

1 (b) clap or tap on each pulse beat, in time, in 2 or 3 time, accenting the first beat of each bar, as the examiner plays the passage again (2 marks).

Candidates may elect to respond to tests 1(a) and 1(b) in reverse order. In this case, the examiner should be informed in advance of the tests being administered (see Note 1 above).

Pitch

Two notes of different pitches will be played, one after the other. Candidates will be asked to:

2 (a) identify as “first” or “second” which of the two notes is EITHER the higher OR the lower, at the examiner's discretion (1 mark).

The two notes will be played again. Candidates will be asked to:

2 (b) sing back one of the two notes (EITHER the first OR the second, at the examiner's discretion) (1 mark).

The key-chord of a major key will be played, followed by a short unharmonised melody in the same key, of approximately 4 bars in length. The examiner will stop playing before the final (tonic) note. The candidate will be asked to:

GRADE 2

Rhythm

A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 3/4 or 4/4 time. Candidates will be asked to:

1 (a) identify the time signature as "3" or "4" time (1 mark).

1 (b) beat (conduct) time, with a clear beat-shape (conducting pattern), in time with the examiner’s playing, as the examiner plays the passage again (1 mark).

The examiner will select one bar from the passage, and will play it in an unharmonised version. Candidates will be asked to:

1 (c) identify and describe the note values (rhythmic values of the notes) in the bar (2 marks).

Pitch

A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked to:

2 (a) identify the note as “bottom, middle or top” OR “Doh, Mi or Soh” OR “root, 3rd or 5th” (candidate's choice) (1 mark).

The triad will be played again. Candidates will be asked to: 2 (b) state if the triad is major or minor (1 mark).

The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by the first five notes of the scale in ascending order. The examiner will then play any ONE of these notes again. Candidates will be asked to:

2 (c) identify the note, EITHER by letter name OR by tonic sol-fa name OR by number (1, 2, 3, 4 or 5) as elected by the candidate (1 mark).

The test will be repeated, using a different example (1 mark).

GRADE 3

Rhythm

A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in 6/8 time. Candidates will be asked to:

1 (a) beat (conduct) time, with a clear beat-shape (conducting pattern), 2 beats in the bar (NOT 6 beats in the bar), in time with the examiner’s playing, as the examiner plays the passage again (1 mark).

The candidate will be shown three lines of music (marked 1, 2 and 3), each of which will contain four individual bars of music in 6/8 time (marked a, b, c and d). The examiner will indicate which line of music is being used. One of the bars on that line will be played, twice. Candidates will be asked to:

1 (b) indicate which bar (a, b, c or d) has been played (1 mark). The test will be repeated, using a different example (1 mark).

Pitch

An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th, Perfect 5th. Candidates will be asked to:

2(a) identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark). The test will be repeated, using a different interval (1 mark).

The key-chord of a major or minor key (C, G, D, F and Bb majors; A and E minors only) will be played, and the key stated. A short unharmonised melody, in the same key, of approximately 3 bars in length, will be played, twice. Rhythms will be limited to crotchets, quavers, minims, dotted minims and semibreves. Candidates will be asked to:

2 (b) sing back the melody (3 marks).

Candidates may elect to respond to test 2(b) by playing the melody on their instrument, instead of singing. In this case, the examiner should be informed in advance of the tests being administered (see note 1 above).

GRADE 4

Rhythm

A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4 or 6/8 time. Candidates will be asked to:

1 (a) beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 time should be conducted with a 2-beat pattern). (2 marks).

A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an

unharmonised version, twice. The phrase will include no rhythmic values shorter than a semiquaver, but may include simple dotted patterns. Candidates will be asked to:

1 (b) clap or tap back the rhythm of the phrase (2 marks).

Pitch

An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The interval will be restricted to any major, minor or perfect interval up to and including an octave. Candidates will be asked to:

2(a) identify the interval, by numerical value and type (1 mark). The test will be repeated, using a different interval (1 mark).

The candidate will be shown three similar versions of a short melody (marked 1, 2 and 3). The versions will differ in pitch, but not in rhythm. One of the versions will be played, twice. Candidates will be asked to: 2 (b) identify which version was played (2 marks).

GRADE 5

Rhythm

A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4, 6/8 or 6/4 time. Candidates will be asked to:

1 (a) beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 or 6/4 time should be conducted with a 2-beat or 6-beat pattern as appropriate). (2 marks).

A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an unharmonised version, twice. Candidates will be asked to:

1 (b) identify and describe the note values (rhythmic values of the notes) in the phrase (2 marks).

Pitch

An interval will be played twice, with the pitches sounded together. The interval may be any major, minor or perfect interval within the octave, as well as the augmented 4th / diminished 5th. Candidates will be asked to:

2(a) identify the interval, by type and numerical value (1 mark). The test will be repeated, using a different interval (1 mark).

The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to:

2 (b) identify the cadence, either by its conventional name, or as “finished” (perfect and plagal) or “unfinished” (imperfect or interrupted) (1 mark).

GRADE 6

Rhythm and Pitch

A harmonised passage, in simple time, of not more than six bars in length, and containing some syncopated patterns, will be played, twice. Candidates will be asked to:

1(a) identify the time signature (1 mark).

1(b) identify whether the passage is in a major or minor key (1 mark).

1(c) identify, by number and type, any interval within the octave, occurring in the melody-line between two succeeding notes. These pitches will be played again, first as occurring in the melody, and then with the pitches sounded together (1 mark).

A short phrase from the passage, of 1-2 bars in length, will be played again in an unharmonised version. Candidates will be asked to:

1(d) clap or tap back the rhythm of the phrase (1 mark).

1(e) identify and describe the note values (rhythmic values) in the phrase (2 marks).

Pitch

The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, or interrupted) in the home key. Candidates will be asked to:

2 (a) identify the cadence by its conventional name (1 mark).

The key-chord of a major key will be sounded, and the key named. A short harmonised passage in the same key, of approximately 4 bars in length, will be played. The passage will contain one modulation to a related key (dominant, subdominant, or relative minor), finishing with a perfect cadence in that key. Candidates will be asked to:

2 (b) identify the key into which the passage has modulated, either by name or by relationship to the home key (candidate's choice) (1 mark).

GRADE 7

1 (a) A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following:

• to identify the time signature

• to identify whether the passage is in a major or minor key • to describe the overall dynamics

• to describe the basic overall form (this will be limited to AB, ABA, AAB, ABAB, AABA) (2 marks). 1 (b) The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings.

The passage will be played once again in full; further shorter sections may also be played again. Candidates will be asked a selection of the following:

• to suggest an appropriate tempo marking • to describe changes in tempo

• to name the key

• to describe phrasing patterns • to describe dynamics

• to describe articulation • to identify modulations • to identify ornaments

• to confirm their description of the form (4 marks).

2. The key-chord of a major or minor key will be sounded. A short harmonised passage in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to:

identify the cadence by its conventional name. (1 mark). The test will be repeated, using a different example (1 mark).

GRADE 8

1. A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following:

• to identify the time signature;

• to identify whether the passage is in a major or minor key; • to suggest an appropriate tempo marking;

• to describe and identify any particularly noticeable aspects of the dynamics, phrasing, articulation, modulation, ornamentation, texture, etc. (examiners may play certain extracts from the passage again); • to suggest a musical style (Renaissance, Baroque, Classical, Romantic, Twentieth Century or Modern,

Jazz / Popular);

• to identify any interval in the melodic line between two successive notes, up to and including a Major 10th (the two pitches will be played again, as occurring in the melody);

• to clap back, or identify and describe the note values (rhythmic values) of, a short phrase of 1-2 bars in duration, taken from the passage and played again in an unharmonised version;

• to identify a cadence, taken from the passage, played again by the examiner (4 marks).

2. The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. The passage will be played once again in full; further shorter sections, of up to 4 bars in length, may also be played again, sometimes with changes in phrasing, tempo, articulation and/or dynamics. Candidates will be asked a selection of the following:

• to name the key • to identify modulations • to identify ornaments

• to describe the overall form (in addition to those specified for Grade 7, these may include ABCA, ABCBA, AA'BA, ABA'B, and similar structures, as well as more organic forms, or forms based on imitative or fugal structures);

• to identify simple melodic, rhythmic or harmonic devices, such as sequence, inversion, repetition, pedal points, augmentation / diminution, motivic development, etc.

• to identify changes in phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2 bars in length, played in two different styles by the examiner (4 marks).